Chapel of Secrets

In a small Scottish village, not far south of Edinburgh, is an ancient stone chapel steeped in a history of legend and myth.

The village of Roslin, Scotland is nothing very special in itself. It consists of a narrow stone-fronted main street, a small patch of village green and surrounding sweeps of beautiful, wild Scottish countryside. But the Rosslyn Chapel is another story entirely. Construction on the chapel began in 1446, and through a long association with the Freemasons (and an alleged association with the Knights Templar) the Rosslyn Chapel has grown about itself an aura of mystery and legend. There are rumours of a hidden underground vault, secret medieval chests, and whispers of the Holy Grail. Throughout the interior of the chapel are ornate and elaborate carvings rich in symbolism and hidden meaning. There is an especially famous and beautiful pillar in the chapel called the Apprentice Pillar. Legend has it that the master mason didn’t believe that his apprentice could carve the beautiful column without seeing the original. The master mason went by himself to view the original pillar and found on his return that the apprentice had already completed the column, and so killed him in a fit of rage by striking him on the head with his mallet. They say, as punishment, the Master mason’s face was carved into the opposite corner so that, as punishment, he would forever have to gaze on his apprentice’s work.

Perhaps most intriguing of all the secrets and symbols of the Rosslyn chapel, is the code hidden in the 213 symbols carved into the cubes on the ceiling. This code was broken in 2005 by Scottish composer Stuart Mitchell. He decided, after 20 years of pondering, that the cubes formed a piece of music. The key to unlocking the mystery, said Mr Mitchell in an interview in The Scotsman , ‘lay in the discovery that the stones at the bottom of each of the twelve pillars inside the chapel formed a cadence of which there were only three types known or used in the fifteenth century’. After deciding that the cubes, or rather the pictures on the cubes, were the basis of a musical score, Mr Mitchell found further clues in the chapel about the nature of the piece of music. Carved into the pillars are musicians all playing different instruments used in the playing of the piece. He put the music into triple time and named it The Rosslyn Cannon of Proportions.

I do wonder though, if Mr Mitchell had been a geologist instead of a musician, would the code have read differently for him?


In the same interview, Mr Mitchell stated that in his search to crack the code ‘he found a lot of symbolism and decoys to throw people off.’ What if what was decoy to Stuart Mitchell, held great significance to someone else? What if the code, steeped in mathematics, as is music, plays a gentle medieval chant quite incidentally? After all, people can play beautiful pieces of music just by playing the notes formed by a picture of birds sitting on telephone wires (see here).

So if you are travelling to Scotland any time soon, stop by the village of Roslin, check out the mythical chapel and have a look at the ceiling. Perhaps, if you’re a bit of a savant, you won’t need twenty years to interpret the message coded in the cubes. Maybe you’ve already been there and have your own theories? I’d love to hear them if you do! Let me know your theories about this or any other piece of puzzling architecture in the comments below, and if you’d like a peek into the world of my writing, reading and mothering, you can find me on Twitter, Facebook or Instagram. Until then, I’ll see you next week!

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